The music world has changed a lot in the seven years since Whitney Houston released her last new studio album, and there've been times when it was worth wondering whether the diva of all divas would ever even be bothered with a comeback.

After all, the turbulence of her tabloid-topping domestic life had nearly obliterated her musical legacy, but even with all the troubling reports there was still no way to completely forget the singer who had racked up more than 170 million combined worldwide sales of albums, singles and videos.

But most of those hits were a long time ago. And the young lady who sang "Greatest Love of All" back in 1985 had certainly changed but sure was determined to prove that she was a survivor after all.

Houston proves her point on "I Look to You," which marks a step back in the right direction aimed at resurrecting her career. Her voice doesn't have quite the dynamic presence it once did - especially in the upper register - but she is still a brilliant vocalist. There's an inconsistency to the material yet some of the songs here, particularly the Alicia Keys' penned "Million Dollar Bill" and the sobering, dramatic Diane Warren-authored "I Didn't Know My Own Strength," rank with the best in Houston's career.

The project was initially announced three years ago by Houston's mentor and co-producer Clive Davis and the singer took her time with the album, which features a series of other big-name producers and writers.

There's only one vintage song here, a rather odd version of Leon Russell's classic "A Song for You," which starts slow and turns into some cheesy dance track mid-way through.

But other titles fare better, including the light Latin touches of "Like I Never Left," where she duets with Akon and briefly shows off her high range; the pure fun of the dance track "For the Lovers;" and the sparse R. Kelly tale of independence "Salute."

It took three years to record and four more before that to get Houston to where she was ready for this. It's not a classic, but it's got some classic moments. Now it's time for her to take the next logical step and bring it back out on the road. Happy endings are hard earned but she can make it happen. She always could.

Accustomed to playing far bigger venues, the Black Crowes stripped things down a lot for their latest set, which was recorded live in front of an intimate audience at Levon Helm Studios in Woodstock, N.Y.

The result is one of the group's most appealing works, sometimes blasting with the organic brand of blues rock that has been the Crowes' calling card, and sometimes showcasing an old-time sound wrapped in acoustic instrumentation.

Double lead guitar work and gritty, spirited revelry are in the air on the Little Feat-styled opening of "Good Morning Captain," while the fevered, seven-minute-plus workout "Been a Long Time" add to the double-barreled kick that sends the Black Crowes off and flying.

The remainder of the "Before the Frost" segment of the album offers a smart blend of styles, including a few that are surprisingly successful, such as the dance beat, rhythm section driven "I Ain't Hiding," which actually sounds vaguely reminiscent of the Rolling Stones' "Miss You." Other songs including the quieter ballad "Appaloosa," and the evocative "Houston Don't Dream About Me," round out the disc in style.

But that's actually only half the story. For "Before the Frost..." contains an Internet code for fans to access a free downloadable second collection of new Black Crowes' material called "Until the Freeze." It's the band's way of thanking fans for 20 years of support, and with gems like the sitar-riding "Aimless Peacock," the vintage mountain music of "Garden Gate," and a cover of Stephen Stills' "So Many Times," from his days with Manassas, it adds plenty to an already strong offering.

Dolores O'Riordan, "No Baggage," (Zoe/Rounder) 2.5 stars.

At virtually the same time as the release of this album, Dolores O'Riordan announced she's reuniting with her long dormant band, the Cranberries, for the first time in seven years.

The timing was more than a little awkward, especially since the singer on her own has yet to reach the star power of her band. But the tour is expected to feature songs from this disc, as well as Cranberries' hits, so "No Baggage" doesn't get buried too quickly under the Irish outfit's renewed momentum.

Throughout the new album, O'Riordan's voice continues to be an instrument of pure beauty, but the material is a mixed bag compared with much of her previous work in the band and as a solo artist. Nevertheless, she's most within her element on tracks like the introspective, closet-confronting "Skeleton," which is set against a backdrop reminiscent of a Celtic tribal group.

Dolores O'Riordan: "Skeleton"

That spiritual thunder surfaces again in the richly melodic "Throw Your Arms Around Me," and the singer is particularly poignant when singing of inner demons and temptations of the world on "Be Careful."

Jill Hennessy, "Ghost in My Head," (Master Rock) 3 stars.

She's best known as an actress for her roles in television shows like "Law & Order" and "Crossing Jordan," but Jill Hennessy is a singer/songwriter as well, one who got started playing subways in her native Canada, and one who later landed a role as Buddy Holly's wife in a Broadway production of "Buddy - The Buddy Holly Story."

To make it all stranger Hennessy lives in Holly's former apartment building in New York City, a fact guaranteed to delight trivia freaks. For the moment she's concentrating on her music career, and "Ghost in My Head," is far removed from the big city. Indeed there's a rural texture to a lot of it, a wide-open heartland feel permeating songs such as the title track, and "Falling Down," the latter which is one of a couple of cuts here sounding vaguely reminiscent of folk fave Dar Williams.

Hennessy's natural vibrato surfaces frequently and proves to be a major force on one of the album's best tracks, the full band workout "Holding On."

Jill Hennessey: "Holding On"

Along with a strong studio ensemble, she has some impressive guests along for the ride too, including R.E.M.'s Mike Mills, the Dixie Chicks' Martie Maguire, who contributes fiddle to "Holding On," and Texas country pedal-steel player/multi-instrumentalist Lloyd Maines.

Spin back to the hypothetical soundtrack of 1967's "Summer of Love" and people typically think of the Beatles' "Sgt. Pepper's Lonely Hearts Club Band," or Procol Harum's "A Whiter Shade of Pale."

Another classic from later that year that still evokes a snapshot in time is the Strawberry Alarm Clock's psychedelic pop wonder "Incense and Peppermints." The chart-topping single became the Nehru-outfit-loving band's signature song, but it wasn't SAC's only musical moment worth savoring.

There are plenty of them on this debut album, which has been out-of-print for years on vinyl, but has now been restored to its original glory by Sundazed. Pressed on high-quality, high-definition vinyl, it sounds as warm and colorful as the classic album cover. Starting with the trippy, eight-minute-plus gem "The World's On Fire," the disc offers a mind-bending dose of sweet harmonies and bright melodies etched with garage band flavors. "Strawberries Mean Love," "Paxton's Back Street Carnival," and, of course, the title track are among several cuts that shine strong all these years later.

DVD Spotlight

The Black Crowes, "Warpaint Live" (Eagle Vision). 4 stars.

Yes the Black Crowes have an ambitious new album out ("Before the Frost...Until the Freeze") but the band is also celebrating the recent release of this 17-track live DVD primarily culled from the group's most recent prior album.

Recorded on March 20, 2008 at the Wiltern in Los Angeles, the Blu-ray finds the band in top notch form powered as always by the work of singer Chris Robinson and his brother Rich Robinson on guitar and vocals. Yet one of the major stars of this outing is fiery guitarist Luther Dickinson - of the North Mississippi Allstars - whose slide work and blistering leads brings a new intensity to the band's rough 'n' ragged brand of blues rock.

Standouts here include the opening "Goodbye Daughters of the Revolution," as well as the soulful "Whoa Mule" - complete with a big bass drum player; the spiritually-tinged, harmonica-backed "God's Got It;" and a version of Delaney and Bonnie's "Poor Elijah/Tribute to Johnson Medley."

Frequently compared to the Rolling Stones, the Black Crowes include a vintage Stones' track in their encores, a sturdy acoustic/electric rendition of "Torn and Frayed," which first appeared on "Exile On Main St."